Blog Archives
Q: Would you speak more about being represented by Brewster Gallery in the late 1990s?
A: In 1996 I landed my first major New York gallery, Brewster Gallery. I was still living in Virginia and Mia Kim, the director, had accepted my work on the basis of unsolicited slides mailed to the gallery in July. The first time she saw my pastel paintings in person was when I delivered them for a solo exhibition in October.
Brewster represented Latin American masters such as Frida Kahlo, Francisco Zuniga, Diego Rivera, Francisco Toledo, and Rufino Tamayo. Mia Kim, the director, said that she sometimes had to defend her decision to represent me. Mia’s fabulous response was, “Barbara has the SOUL of a Latina!” My work at that time was heavily influenced by Mexican culture. Mia immediately understood what I was doing in my work. How thrilled and honored I was to be represented by a gallery where my fellow sole non-Latina was Leonora Carrington! Leonora came to my opening.
Those were wonderful days!
Comments are welcome!
Q: This portrait has an interesting story. Can you explain? (Question from Anna Rybat via Facebook)
A: “John” was one of several portraits I made of friends in 1988-90 to build up my portfolio for the portrait company I worked for when I left the active duty Navy. I had gifted it to John Breeskin, the psychologist/friend pictured.
When he died, someone sent it back to me. (I hadn’t known he died). I must have not been working that day so for some reason, it was delivered to a print studio on another floor in my building. When the printer moved out, he found it and got in touch with me. By that time he had had “John” for more than a year and never bothered to tell me! The packaging had been removed so I have no idea who sent it or where exactly it came from.
Comments are welcome!
Pearls from artists* # 460
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Precious realm of painting! That silent power that speaks at first only to the eyes and then seizes and captivates every faculty of the soul! Here is your real spirit; here is your own true beauty, beautiful painting, so much insulted, so much misunderstood and delivered up to fools who exploit you. But there are still hearts ready to welcome you devoutly, souls who will no more be satisfied with mere phrases than with inventions and clever artifices. You have only to be seen in your masculine and simple vigor to give pleasure that is pure and absolute. I confess that I have worked logically, I, who have no love for logical painting. I see now that my turbulent mind needs activity, that it must break out and try a hundred different ways before reaching the goal towards which I am always straining. There is an old leaven working in me, some black depth that must be appeased. Unless I am writhing like a serpent in the coils of a pythoness I am cold. I must recognize this and accept it, and to do so is the greatest happiness. Everything good that I have ever done has come about in this way. No more ‘Don Quixotes’ and such unworthy things!
The Journal of Eugene Delacroix edited by Hubert Wellington
Comments are welcome!
Q: As you reflect on your overall art career beginning with your art education, what major event stands out as an important sign that you were headed in the right direction?
“His Mortal Enemy Was Poised Ready to Strike,” soft pastel on sandpaper
A: In 1989 I left a career in the Navy to pursue life as a full-time professional artist. In July 1996 Bryan and I were traveling in Mexico. Something told me to check the phone messages at our Virginia house so I did.
There was a message from Mia Kim, the director of Brewster Arts Ltd. on West 57th Street in Manhattan, requesting a dozen large pastel paintings for a two-person exhibition in October, just three months away!
At the time I was still living in Alexandria, Virginia so exhibiting in Manhattan – let alone securing prestigious gallery representation – seemed a far-off dream. Yes, I had sent Mia slides, but she had not seen my work in person. She first saw my “Domestic Threats” pastel paintings when I delivered them to the gallery for exhibition. The show was called “Monkey Business.”
Brewster Arts was an elegant New York gallery that specialized in Latin American Art. There was just one other non-Latina artist that Mia represented, Leonora Carrington, whom I met that October at my opening. I remember Mia introducing me and declaring to the entire crowd, “Barbara has the SOUL of a Latina.” I’ve always loved that. It was the first time I realized I was really on my way!
Brewster Arts Ltd. continued to represent my work until the gallery closed some years later.
Comments are welcome!
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